The Exhibitor (1955)

SS-4 STUDtO SURVEY GOOD THINGS TO COME FROM HOLLYWOOD . . . Warners^ ^'East Of Eden" JOHN STEINBECK’S “East Of Eden” reaches the motion picture screen with dynamic and engrossing power. This is exactly what could have been expected from two such exacting creators as Steinbeck and Elia Kazan. The latter produced and directed the motion picture version of the great novel. The characters in all of Steinbeck’s novels could never be accused of being dull and droopy. Therefore, the people you will see in “East Of Eden,” while not exactly resembling your next door neighbors, will nevertheless provide you with a tremendously stimulating evening at the movies. Relent¬ less, searching, and utterly honest, this picture has a hard hitting and penetrating quality which you will not easily dismiss. It stays with you. Once again, Kazan, in the same honest.v of pui-pose as his past triumphs, “Streetcar Named Desire” and “On The Waterfront,” has painted a most daring canvas, across which move deeply interesting, often violent person¬ alities. I repeat, “East Of Eden” is straight-from-the-shoulder, no-holdsbarred movie fare. Many will find its very directness of thought quite revolutionary. But, in the final analysis, all should feel the magnetism of the experience. To me, it is an example of truly fine movie making. Perfectly cast, splendidly acted (to the smallest bit part), superbly directed, and magnificently photographed, “East Of Eden” is an important motion picture which will be long remembered by all who see it. — P.M. Seen above are three scenes from Warners' screen adaptation of John Steinbeck's pow¬ erful best-seller "East Of Eden," in WarnerColor and CinemaScope, featuring new dis¬ covery James Dean, Raymond Massey, and Julie Harris. At bottom right, the cameraman catches producer-director Elia Kazan on the set in a reflective pose. The film introduces several young actors and actresses for whom the Burbank lot has extensive plans. Meet Robert Aldrich ROBERT ALDRICH Robert Aldrich bi'ought to his first as¬ signment as full-fledged feature director, MGM’s “Big Leaguer,” a wealth of ex¬ perience and valuable know-how in movie-making. At 34, he was a veteran in the motion picture industry. Now JUST 37, Aldrich has directed two of the industry’s biggest boxoffice suc¬ cesses of the past year, “Apache” and “Vera Cruz,” both for United Artists. According to UA, “Vera Cruz” will prob¬ ably be their all time top grosser. This month, Aldrich completed his first assignment as producer-director, on Parklane’s “Kiss Me Deadly,” a Mickey Spillane feature with blood, violence, girls, and action. UA has already said that this will probably outgross the two previous Spillanes, both of which topped $2,000,000 in America. Aldrich has been leaiming the funda¬ mentals of directing since 1942 as assist¬ ant to some of the greatest directors in the industry, and recently directed 22 dramatic films for television. He is also the author of a half-dozen successful screen plays and has been production manager and associate producer for RKO, Republic, Columbia, 20th-Fox, and United Artists. Aldrich was born Aug. 9, 1918, in Evanston, R. I. He is married to the for¬ mer Harriet Foster, Warwick Neck, R. I. Their home is in Hollywood, overlooking the Wilshire Country Club. They have four children, Adele, 11; Billy McLaughrey, 10; Alida, seven; and Kelly Foster, two. When he graduated from Virginia in 1941, he headed straight for Hollywood. His first job was at RKO as production clerk, but he soon moved up a rung to second assistant director. In 1944, Aldrich left RKO. During the next three years, he worked with such famed directors as Jean Renoir, Lewis Milestone, William Wellman, and Leslie Fenton. From 1946 to 1948 he was under con¬ tract to Enterprise Studios as assistant director, unit production manager, studio manager, and writer, and continued in these capacities for independent producers in 1949-50, after Enterprise suspended operation. He was associate producer to Harold Hecht in 1951 for two Columbia releases, “Ten Tall Men” and “The First Time,” and was assistant director to Charles Chaplin for “Limelight.” That same year he wrote three screen plays. Impressed by Aldrich’s ability to make pictures of good quality inexpensively, a unique talent which is naturally at a premium in Hollywood today, MGM signed him to direct “The Big Leaguer,” and this marked his debut as a director of feature films. Aldrich’s career is in full swing. On May 15 he will produce and direct Joan Crawford in ‘The Way We Are,” a screen play he bought and had developed with Joan in mind. And still on the schedule is a second Spillane, “My Gun Is Quick,” to be done before the year is out. Warners Launches Star Hunt Burbank, Cal. — A vigorous new per¬ sonal scouting plant is being launched by Warners to intensify the drive for fresh motion picture personalities which the company has carried on throughout its history. The new plan, being put into effect with the authorization and guidance of Jack L. Warner, executive producer, will send Solly Baiano, studio casting head, on a nation-wide talent hunt, and will keep him in the field for an indefinite period of several months. MOTION PICTURE EXHIBITOR February 16, 1955